Artist Profiles

Marilyn Levine
Thom's Jacket - 1989
34.75 x 23 x 5 inches (88.26 x 58.42 x 12.7 cm)

		Marilyn Levine
		The sculpture of Marilyn Levine is concerned with conflict: Conflict between visual and tactile, between reality 
		and unreality, between presentation and representation. The material illusion confronts our assumptions and 
		makes us question our perceptions.
		It asks us to examine a thing beyond it's perceived usefulness as an object and then invites us to look deeper 
		at the purely sensual aspects of that thing; form, surface, texture, presence. It knocks us off balance and then 
		replaces our footing with a wholly new ground.   

		Marilyn Levine

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Darryl DelVecchio
Untitled - 2002
mixed media on fabric
37 x 42 inches (93.98 x 106.68 cm)

		Darryl DelVecchio
		I am hoping that people can see the potential for a narrative in these works. Much the same way I would like 
		for people to see that the work contains allusions to a presence; although the presence is non-specific. 
		Recognizing the inherent memory of certain objects and viewing them as something detached or forgotten 
		brings forth the potential for a memory-presence. The imprint of this can be achieved through the distilling of 
		the object. In other words, I distill a building's implications down to a symbol representing a building but not 
		describing one (relegating the descriptive down to the status of the signifier). The drawn lines are meant not 
		to simplify or break down but to start from nothing and build up. In the process they signify the memory of the 
		original object in the mind of the spectator. The viewer is thus doing the distorting and abstracting, not me. 
		My forms, shapes, and symbols communicate nothing. They exist outside the social norm of aesthetic 
		recognizability; and are in fact a parody of it. To designate something as art is to fervently deny, with great 
		effort, the natural beauty that forms already possess.   

		Darryl DelVecchio, 2002

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Robert Anderson
Western Adventures - 2000
oil on canvas
45 x 70 in.

		Robert Anderson
		Robert Anderson's eye catching new series of paintings, draws inspiration from the classic pulp fiction 
		images that infiltrated post-war culture and captured the gasoline and testosterone fueled imagination of 
		the American male. The word "pulp" comes from the low-grade paper used for trashy magazines that 
		specialized in lurid stories loaded with sex and danger. With their saturated colors and dark-side-of-life 
		imagery, the covers grabbed the reader by the throat and groin, fueling forbidden fantasies of adventure 
		and seduction. A whole new breed of artist / illustrator emerged.  These artists created an incredible world 
		of cover art that still has the power to stir our impulses. Ultra sexy femme fatales - either in trouble or looking 
		for it - embraced the threat of violence, which loomed around every shadowy corner. Pulp Art telegraphed 
		its message: life is an adventure, where hard drinking, gun-toting fellas take what they want, and pretty 
		gals - with looks that can seduce or kill - like it that way.
		More than just a homage, Anderson playfully recreates the world of pulp Americana. In the classic pin-up 
		style, his big, smiling, busty cowgirls tease and strut in front of their tough guy counterparts in a sexual dance 
		that will no doubt lead to trouble in the night ahead. Each painting is a fusion of iconoclastic memory traces 
		and frontier imagery blended with a new millennium jab. Unrestricted in approach, Anderson places some 
		"real" cowgirls among his comic and pulp babes, as a further celebration of the female figure. Pulp Art is 
		about romance, sex and danger, and mostly, breaking the rules. Using the Wild West as his backdrop, 
		Anderson has created a unique eye grabbing collection of startling images that breathtakingly seduce and 
		excite. So saddle up, make sure your gal's lips are blood red and her heels are sharp and high, and enter 
		Robert Anderson's world of the Pulp Western.

		Robert Anderson, 2002


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